You will be rewarded a maximum of 3 points if I judge your work to be above average. You will receive 2 points if your work is average, that is it may have a few minor mistakes in some of the answers but demonstrates correct grammar and indicates that some, but not all, of the answers, are acceptable and well expressed. You will earn only 1 point if you simply answered the questions and/or if you use poor grammar and if there are signs that you have not read the material on which your answers are based.
Note: Like other plays we have dealt with, the construction of this play is unique and often challenging to readers. It generally works well on the stage but not so well in the study. So, the questions posed about the construction of the play do not easily follow Ball’s method of analysis. So, I have taken the liberty to change up some of the questions.
1. You may identify the stasis in the play but it isn’t necessarily at the beginning of the play. Where is it and who does it involve? NOTE: Do not assume that the stasis of the play is the same as the stasis of the video version that you are required to see. Only discuss the play in this and answers to the following questions.
It could be argued that there are two stasises. One would be the actual event of the Rabbi's motorcade hitting Cato and Angela on August 19, 1991 around 8:20PM. Yet, the play itself opens with another stasis. The playwright interviewed Ntozake Shange, and she is another playwright and a poet and novelist as well. She is sitting in an armchair smoking upstage center with one of her earrings removed to allow her to talk to the interviewer on the phone around 4:00PM. She discusses what identity is. It is a question often posed, and many prefer to avoid the topic entirely. Shange proceeds to explain her thinking of the word of identity and what it means to her and in this situation.
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Fires in the Mirror and how is it broken?
The death of Gavin Cato propels the entire play and events into occurrence. The day would have continued as usual had Cato not been killed, and the people quickly react to his unfortunate death. many are angered that the police do not react quickly, and that Cato's body is not cared for quickly and efficiently. This event also causes the murder of Rosenbaum. He is stabbed in retaliation to Gavin Cato's death. These two deaths propel the entire plot of the play, and of course they propel the actual events that occurred in reality. The black and Hassidic Jewish community are forced to meet, an the people of New York do not know hat else could come from these tragic events.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: the unique factor may have something to do with you? How does the title figure in your answer?
The vignettes of this play occur, because this is after the awful death of a young child. A motorcade escorting the Grand Rabbi accidentally hit and killed a young Guyanese-American named Gavin Cato. This sparked revenge attacks to take place, and Yankel Rosenbaum is brutally stabbed. The relations between the black and Jewish communities becomes volatile. Volatile situations often make for intricate plots, so Smith seized the opportunity to create a dramatic exposé on the events by the medium of theatre. The dramatics of not only the actual events but the acting allows the audience to understand the intense flow of emotions occurring during this trying time in New York history. The unique factor also speaks to race relations today, and the title of the play expounds on the fact that we often look at ourselves very critically.
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
The main dramatic question is: Was justice done for the deaths of Gavin Cato and Yankel Rosenbaum? Rosenbaum is murdered to exact revenge, but there is an argument whether this creates justice for Gavin Cato. Many would argue that the murdering of another in revenge will never bring justice to someone who was hurt or especially if they were killed. Anger cannot be met with more anger or hate. Yankel Rosenbaum also seeks justice, and the work of the police eventually find his killer. Yet, the police respond to the events awfully. The people are fearful of what may happen to them, even though they did nothing to deserve unrest and unruly behavior. Ultimately, the people must decide who receives justice by exploring the facts.The path society takes to combat these events will define who receives justice.
5. Use the narrator of the work to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing the narrator.
The narrator faces herself constantly throughout the play. She wants to discover what happened and why. The events of these awful days leaves her concerned for herself and community. The narrator even comes into conflict with society, because many in the play would argue you have to choose a side to support. By choosing one side one would condemn the other. Yet, both sides are seen to have faults. As the plot progresses, religion is often discussed by characters and analyzed by the narrator. She finds herself questioning God for what He has done to Brooklyn. The people also wonder why God (or Y-w-h for Hassidic Jews) would allow for someone as young and innocent as Gavin Cato to be killed while riding his bike. The narrator wants to see the people retuned to peace, and this cannot be realized till the conflicts and situations are examined and resolved.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Fires in the Mirror.
When Gavin's father breaks down in tears, the audience is left in awe. We are able to feel the pain he feels for the death of his son. This is all integral since it is at the end of the play, thus it leaves the audience struck my intense emotions that adds to the fire in each of our mirrors.
The rich lubavitch woman creates the sense of hysteria many of the characters feel. She speaks quickly and blames both sides. She puts most of the Balme on the police, and she constantly acts as if she is also a victim herself.
Norman Rosenbaum's turn from pain and anger to more moderatism displays a big change in emotion. The characters learn they will have to accept what happened regardless of what is ruled.
SLB Fires in the Mirror
You will be rewarded a maximum of 3 points if I judge your work to be above average. You will receive 2 points if your work is average, that is it may have a few minor mistakes in some of the answers but demonstrates correct grammar and indicates that some, but not all, of the answers, are acceptable and well expressed. You will earn only 1 point if you simply answered the questions and/or if you use poor grammar and if there are signs that you have not read the material on which your answers are based.
Note: Like other plays we have dealt with, the construction of this play is unique and often challenging to readers. It generally works well on the stage but not so well in the study. So, the questions posed about the construction of the play do not easily follow Ball’s method of analysis. So, I have taken the liberty to change up some of the questions.
1. You may identify the stasis in the play but it isn’t necessarily at the beginning of the play. Where is it and who does it involve? NOTE: Do not assume that the stasis of the play is the same as the stasis of the video version that you are required to see. Only discuss the play in this and answers to the following questions.
It could be argued that there are two stasises. One would be the actual event of the Rabbi's motorcade hitting Cato and Angela on August 19, 1991 around 8:20PM. Yet, the play itself opens with another stasis. The playwright interviewed Ntozake Shange, and she is another playwright and a poet and novelist as well. She is sitting in an armchair smoking upstage center with one of her earrings removed to allow her to talk to the interviewer on the phone around 4:00PM. She discusses what identity is. It is a question often posed, and many prefer to avoid the topic entirely. Shange proceeds to explain her thinking of the word of identity and what it means to her and in this situation.
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Fires in the Mirror and how is it broken?
The death of Gavin Cato propels the entire play and events into occurrence. The day would have continued as usual had Cato not been killed, and the people quickly react to his unfortunate death. many are angered that the police do not react quickly, and that Cato's body is not cared for quickly and efficiently. This event also causes the murder of Rosenbaum. He is stabbed in retaliation to Gavin Cato's death. These two deaths propel the entire plot of the play, and of course they propel the actual events that occurred in reality. The black and Hassidic Jewish community are forced to meet, an the people of New York do not know hat else could come from these tragic events.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: the unique factor may have something to do with you? How does the title figure in your answer?
The vignettes of this play occur, because this is after the awful death of a young child. A motorcade escorting the Grand Rabbi accidentally hit and killed a young Guyanese-American named Gavin Cato. This sparked revenge attacks to take place, and Yankel Rosenbaum is brutally stabbed. The relations between the black and Jewish communities becomes volatile. Volatile situations often make for intricate plots, so Smith seized the opportunity to create a dramatic exposé on the events by the medium of theatre. The dramatics of not only the actual events but the acting allows the audience to understand the intense flow of emotions occurring during this trying time in New York history. The unique factor also speaks to race relations today, and the title of the play expounds on the fact that we often look at ourselves very critically.
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
The main dramatic question is: Was justice done for the deaths of Gavin Cato and Yankel Rosenbaum? Rosenbaum is murdered to exact revenge, but there is an argument whether this creates justice for Gavin Cato. Many would argue that the murdering of another in revenge will never bring justice to someone who was hurt or especially if they were killed. Anger cannot be met with more anger or hate. Yankel Rosenbaum also seeks justice, and the work of the police eventually find his killer. Yet, the police respond to the events awfully. The people are fearful of what may happen to them, even though they did nothing to deserve unrest and unruly behavior. Ultimately, the people must decide who receives justice by exploring the facts.The path society takes to combat these events will define who receives justice.
5. Use the narrator of the work to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing the narrator.
The narrator faces herself constantly throughout the play. She wants to discover what happened and why. The events of these awful days leaves her concerned for herself and community. The narrator even comes into conflict with society, because many in the play would argue you have to choose a side to support. By choosing one side one would condemn the other. Yet, both sides are seen to have faults. As the plot progresses, religion is often discussed by characters and analyzed by the narrator. She finds herself questioning God for what He has done to Brooklyn. The people also wonder why God (or Y-w-h for Hassidic Jews) would allow for someone as young and innocent as Gavin Cato to be killed while riding his bike. The narrator wants to see the people retuned to peace, and this cannot be realized till the conflicts and situations are examined and resolved.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Fires in the Mirror.